Les ann es de la Belle Epoque
Pour faire suite aux Années impressionnistes, ce volume offre un large panorama de ce qui fut l'esprit "fin de siècle" et de la naissance de la modernité, entre 1890 et 1914.
De la Belle poque aux Ann es folles la parfumerie au tournant du XXe si cle
La 4e de couverture indique : "Au tournant du XXe siècle, la création artistique se partage entre les adeptes des styles historiques et les partisans d’un art tourné vers les innovations esthétiques et les progrès techniques. Sublimant la nature, source perpétuelle d’inspiration, l’Art nouveau révolutionne les arts appliqués et crée une grammaire de formes originales, tout en façonnant une image moderne et émancipée de la femme. Dès les années 1910 apparaît un style à caractère géométrique préférant la ligne droite à la courbe, qui s’épanouira pleinement dans les Années folles. L’Art déco impose un vocabulaire novateur : ordre, couleur et géométrie. Au cœur de ces bouleversements successifs, l’univers du parfum se révèle d’une créativité inouïe tant par son art du flaconnage, réinventé par d’illustres noms tels Lalique, Gallé, Guimard ou Süe, qu’avec la multiplication de fragrances inédites aux succès intemporels. Investissant le monde du luxe, puis de la mode, parfumeurs et industriels collaborent avec les artistes pour apporter un souffle incomparable à cette nouvelle société."
Preaching the New Lectionary
2000 Catholic Press Association Award Winner! The Lectionary is made up of selected passages from the Bible, placed within a literary and liturgical context. This new context calls for a consideration of the liturgical character and setting of the Lectionary readings. Preaching the New Lectionary: Year B, offers readers that interpretation. Preaching the New Lectionary is unique. First, it employs a literary-liturgical way of interpreting all the readings of each Sunday and major feast of the liturgical year, including the often overlooked responsorial psalm. Second, it explicitly situates the interpretation of each day within the theology of its respective liturgical season. This theology is drawn from the specific themes of the readings that comprise that particular year rather than from more general themes associated with the season. The meaning of the entire season becomes the context for understanding the individual parts of it. Third, the lections are also read in sequential order from the first Sunday of that season to the last. This reading interprets the function of the literary forms, thus providing yet another way of interpreting the riches of the readings. This way of reading and understanding the Lectionary has potential for liturgical ministry. It can quicken the religious imagination of homilists, thus providing fresh new possibilities for liturgical preaching. It offers creative insights for those involved in the liturgical preparation for the celebration of feasts and seasons. It can also act as a valuable resource for liturgical catechesis. The insights included in Preaching the New Lectionary contribute toward enhancing the liturgical lives of the faithful. Dianne Bergant, CSA, is Professor of Old Testament studies at Catholic Theological Union in Chicago. The general editor of The Collegeville Bible Commentary (Old Testament) published by The Liturgical Press, she was editor of The Bible Today from 1986-1990. Richard N. Fragomeni, PhD, is Associate Professor of Liturgy and Homiletics at Catholic Theological Union in Chicago. He is editor of The Ecological Challenge also published by The Liturgical Press.
The Beginning Translator s Workbook
This workbook combines methodology and practice for beginning translators with a solid proficiency in French. It assumes a linguistic approach to the problems of translation and addresses common pitfalls, including the delineation of “translation units”, word polysemy, false cognates, and structural and cultural obstacles to literal translation. The first part of the book focuses on specific strategies used by professionals to counter these problems, including transposition, modulation, equivalence, and adaptation. The second part of the book provides a global application of the techniques taught in the opening sections, guiding the student through step-by-step translations of literary and non-literary excerpts. The revised edition clarifies some of the finer points of the translation techniques introduced in the first edition, provides extra practice exercises, and offers information on a website that can be used in class.
The Hypocrisy of Justice in the Belle Epoque
The Dreyfus Affair of the 1890s and the violent controversies that surrounded it appeared to pass two very different judgments on the France of the Third Republic. The outcome o the trial -- Captain Dreyfus convicted without guilt and the real traitor acquitted despite guilt -- demonstrated without question the extraordinary hypocrisy of the military justice system. But the furor raised by Dreyfus' conviction and the agitation for his release suggested that the injustice of the courts' verdict was uncharacteristic of French society; that for France as a nation the rendering of justice was paramount, even at the expense of disgracing both the military and a conspiring government. In The Hypocrisy of Justice in the Belle Epoque, Benjamin Martin examines the events of three sensational criminal cases to reveal that the willful mangling of justice that occurred in the Dreyfus trial was far from rare in the Third Republic France. He finds, in fact, that justice in the Belle Epoque was "hypocritical in the extreme," with the outcome of trials easily tainted by the power and influence of politics, money, and illicit sex. At times, justice deviated so far from the ideal that its goal was not the strict application of the law or even the discovery of the truth, but rather the imposition of a system of rewards and punishments meted out in accordance with a capricious vision of social utility. Martin begins with the case of Marguerite Steinheil, the wife of an artist of only middling talent. A strikingly beautiful woman, she presided over a famous salon and was the lover of influential politicians. When she was tried for the brutal murders of her husband and her mother, Marguerite defended herself with a flurry of extravagant stories and unlikely counter-accusations. Even so, she was found innocent of all charges, and the crimes were left unsolved. The second trial considered is that of Thérèse Humbert, a young woman who used an apparently innate talent for elaborate deception in rising from poverty to the upper reaches of Parisian society. With the aid of her husband and her brothers, Thérèse created a series of specious lawsuits over an illusory American legacy. Then, playing on the greed of dozens of investors, she skillfully manipulated the French courts to perpetrate a fraud that would last for twenty years, yield millions, and make her salon one of the most dazzling in Europe until the day when the ruse was finally found out. The third case is that of Henriette Caillaux, the wife of an important leader in the Radical party. She admitted shooting Gaston Calmette, the influential newspaper editor who had been carrying out a campaign of vilification against her husband. But when she was tried for the murder in 1914, Henriette was found innocent and allowed to go free. The sensational trials of Marguerit Steinheil, Thérèse Humbert, and Henriette Caillaux mirrored in many the stalemate society of the Belle Epoque itself. By examining the hypocrisy of justice in the Third Republic, Benjamin Martin uncovers the vast extent of that society's corruption, the amorality and sordidness that were cloaked only partially by the mantle of respectability.
La musique de ballet en France de la Belle poque aux Ann es Folles
Manfred Kelkel A été écrit sous une forme ou une autre pendant la plus grande partie de sa vie. Vous pouvez trouver autant d'inspiration de La musique de ballet en France de la Belle poque aux Ann es Folles Aussi informatif et amusant. Cliquez sur le bouton TÉLÉCHARGER ou Lire en ligne pour obtenir gratuitement le livre de titre $ gratuitement.
By the end of the nineteenth century, Paris was widely acknowledged as the cultural capital of the world, the home of avant-garde music and art, symbolist literature and bohemian culture. Edinburgh, by contrast, may still be thought of as a rather staid city of lawyers and Presbyterian ministers, academics and doctors. While its great days as a centre for the European Enlightenment may have been behind it, however, late Victorian Edinburgh was becoming the location for a new set of cultural institutions, with its own avant-garde, that corresponded with a renewed Scottish national consciousness. While Morningside was never going to be Montparnasse, the period known as the Belle Epoque was a time in both French and Scottish society when there were stirrings of non-conformity, which often clashed with a still powerful establishment. And in this respect, French bourgeois society could be as resistant to change as the suburbs of Edinburgh. With travel and communication becoming ever easier, a growing number of international contacts developed that allowed such new and radical cultural ideas to flourish. In a series of linked essays, based on research into contemporary archives, documents and publications in both countries, as well as on new developments in cultural research, this book explores an unexpected dimension of Scottish history, while also revealing the Scottish contribution to French history. In a broader sense, and particularly as regards gender, it considers what is meant by 'modern' or 'radical' in this period, without imposing any single model. In so doing, it seeks not to treat Paris-Edinburgh links in isolation, or to exaggerate them, but to use them to provide a fresh perspective on the internationalism of the Belle Epoque.
Souvenirs de Franche Comt
Histoire vecue de plusieurs generations autour d'une ferme comtoise au XXeme siecle, illustree de dessins naifs. Le but est de montrer l'evolution des vies au cours du siecle dernier en Haute-Saone.
Cinema Beyond Film
Francois Albera is professor of film and cinema studies at UniversitT de Lausanne in Switzerland. Maria Tortajada is professor in the Department of History and Aesthetics of Film at the same university. --Book Jacket.